<p>Ensamstående mödrar beskrivs ofta som en utsatt och marginaliserad grupp i samhället med sämre hälsa och livsvillkor än andra grupper. Eventuellt positiva aspekter av att vara ensamstående moder lyfts sällan fram i vare sig massmedia eller facklitteratur. Syftet med denna undersökning var att beskriva och analysera ett antal ensamstående mödrars resonemang om sin livssituation och undersöka hur de uppfattar sin livskvalitet. Centrala frågeställningar var bl a vad ensamstående mödrar uppfattar som möjligheter och svårigheter i sin levnadssituation, samt vilka handlingsstrategier de beskriver att de använder sig av i vardagslivet. Undersökningen baserades på en kvalitativ metod där fyra ensamstående mödrar intervjuades. Resultaten analyserades sedan med hjälp av Bengt Brüldes teorier om livskvalitet och sattes även i relation till tidigare forskning. Resultaten visar att ensamstående mödrar lever i ett spänningsförhållande mellan att autonomi och beroende. Alla mödrarna hade utvecklat olika strategier för att öka sin självständighet. Studien visade också att mödrarnas upplevelser av livskvalitet är avhängig känslan av att vara autonom.</p>

Ensamstående mödrar beskrivs ofta som en utsatt och marginaliserad grupp i samhället med sämre hälsa och livsvillkor än andra grupper. Eventuellt positiva aspekter av att vara ensamstående moder lyfts sällan fram i vare sig massmedia eller facklitteratur. Syftet med denna undersökning var att beskriva och analysera ett antal ensamstående mödrars resonemang om sin livssituation och undersöka hur de uppfattar sin livskvalitet. Centrala frågeställningar var bl a vad ensamstående mödrar uppfattar som möjligheter och svårigheter i sin levnadssituation, samt vilka handlingsstrategier de beskriver att de använder sig av i vardagslivet. Undersökningen baserades på en kvalitativ metod där fyra ensamstående mödrar intervjuades. Resultaten analyserades sedan med hjälp av Bengt Brüldes teorier om livskvalitet och sattes även i relation till tidigare forskning. Resultaten visar att ensamstående mödrar lever i ett spänningsförhållande mellan att autonomi och beroende. Alla mödrarna hade utvecklat olika strategier för att öka sin självständighet. Studien visade också att mödrarnas upplevelser av livskvalitet är avhängig känslan av att vara autonom.

This work explores the everyday uses of rock music by women rock musicians, fans and DJs (amateurs), in a specific place (Portugal) and time (1990s-2014). Drawing on the work in the two main fields of music sociology and gender studies and its performative perspective to both gender and music (but also taking contributions from techno-feminist studies, science and technology studies, sociology of work, leisure and sports), this research takes a ‘music-in-action’ approach. This approach understands music as a social activity, as a network of connections between people, materials, discourses and activities. Rock music is best understood as a genre-in-action (not just as a semiotic text or reflection), as socio-material practice, in its collective, relational, performative, situated contexts of use - as rock musicking. As such, there are socio-material processes that constrain and enable women (as a minority group) doing and being in a masculinist rock music world. Taking a ‘mutual shaping’ approach to genre and gender, this research also takes into account how people use aesthetic materials in the processes of performative gendered identity making and relationship with others, as well as world building. The data consists of sixty in-depth interviews with Portuguese rockers (between 2012 and 2014), and supplementary field observations and follow-up interviews. The research found that girls and women’s musical opportunities are more restricted, but that they are also actively negotiated. Parental support and the presence of rock fathers in early years, as well as participation in male networks – whether or not a woman is romantically involved with ‘one of the boys’ – throughout the life course are pathways into rock musicking, as documented in other studies. Adding to the literature, this research highlights how not only in early years, but throughout the life course, rock musicking practices are dependent upon specific aesthetic (musical and visual) gender performances. From female masculinity to alternative femininities, rock music and its visual and material cultures are ‘active ingredients’ in doing and undoing gender. In Portugal, the absence of a strong riot grrrl movement and the lack of female/feminist networks, turns membership in male bands the norm. Consequently, either the “girl in the band’ or girl/female bands have to deal with their ‘novelty’ value. These rockers negotiate the labels of riot grrrl, feminist and grunge within a ‘girl power’ discourse, but mostly, struggling not to let their musical skills and value be obscured by their sex/ualization – developing high standards of musicianship, managing on-stage bodily disclosure, naming and praising their peers, aligning with an Anglo-Saxon rock female canon, but also othering female fans. In male bands, due to male skill ascription, women are segregated into traditional female musical roles, the singer, the bass player. On the other hand, women drummers get token value. At the expenses of instrument specialization, women undertake multi-instrumental pathways. Becoming musical agile selves and re-valuing (traditionally female) musical roles, playing conventions and body techniques. Women also appropriate mixers to spread their love for rock music. These women creatively expand rock music’s material culture, crafting it with clothes, acessories and even food. For rockers who are mothers, rock musicking becomes a technology of mothering. Taking Portuguese women rockers and their socio-musical practices, at both the everyday level and on the “spectacular” rock stage, this research adds to the international and growing body of work on gender and (rock) music across different disciplinary fields (sociology, popular music studies, feminist studies). It extends the traditional focus within popular music scholarship on Anglo-American rock culture, feminist mo(ve)ments, and subcultures, to place emphasis instead on an age group and place that has otherwise been overlooked.

Summary This thesis consists of an ethnographic investigation of five Swedish household&apos;s everyday life in their kitchens during the spring 2001 and an analysis of this context, which for certain can be apt for the development of the smart home services of today. Finally some future opportunities on how to systematise ethnography for design use also are drawn. The focus of investigation of this thesis is to find out what actual happens in some situations in ordinary kitchens. Specific interest is showed for the articulation work, while most smart appliances of today supports only goal-oriented activity, hence evolved from the ground of the home PC interaction. The ethnographical investigation is focused on three specific events in a house hold which all are assumed to take place in the families kitchen. The events are: 1) When a family plans and books an amusement activity. 2) When a family plans it&apos;s shopping. 3) When a person solves a goal oriented task, for example details about cooking a meal. / Jesper Brolin Gyllenborgsgatan 11 Stockholm jesperbrolin@mac.com, mda98jbr@student.bth.se